Iranian Cinema and Philosophy: Shooting Truth (Literatures and Cultures of the Islamic World)

Iranian Cinema and Philosophy: Shooting Truth (Literatures and Cultures of the Islamic World)

Language: English

Pages: 230

ISBN: 0230339115

Format: PDF / Kindle (mobi) / ePub


In film studies, Iranian films are kept at a distance, as 'other,' different, and exotic. In reponse, this book takes these films as philosophically relevant and innovative. Each chapter of this book is devoted to analyzing a single film, and each chapter focuses on one philosopher and one particular aesthetic question.

The Origin of German Tragic Drama

Tiepolo Pink

Heidegger on Art and Art Works (Phaenomenologica, Volume 99)

The Man Without Content

Sensibility and the Sublime

Sensibility and the Sublime

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

it is joyous, fast, and without lyrics. The third song again is somber. Eight different songs are played over the first two minutes, still against the dark screen. The first visual shot shows the old tape player and perhaps over 20 cassettes left to sort. The teacher is seen surrounded by students. He asks one—the main protagonist—about the origin of his song, which turns out to be a homemade recording of his grandmother. The teacher reminds them that in two days their families will come back to

accusation. The understandable concern for philosophy is to safeguard its critical vantage point (Plato, How Orphans Believe ● 31 1997: 1648). If all there is to life is right here, before our eyes, is there room left for taking a step back, for denouncing injustice? Can one still denounce without something to appeal to? Where would critique come from? Such a concern remains as long as one treats the world, this earth, the way we treat the otherworld—that is, as a stable entity. Deleuze’s

censorship and for promoting freedom of speech. His latest film, No One Knows About Persian Cats (2009), follows Iran’s underground music scene, which is filled with aesthetic fusion that mixes Eastern and Western genres, especially rock and rap. In his open letter to Kiarostami, Ghobadi complains that his “dear and respected master” has gone too far. Ghobadi recounts that Kiarostami expressed his dislike for Ghobadi’s new film—as well as for Jafar Panahi’s—for “lying,” for turning art into a

have, which Lacan associates with demand. Demand is a form of desire, but desire is the ultimate drive that seeks plenitude of being, not being split—an impossible goal in itself that can only be sustained by fantasy. The complexity of Lacan’s thought resides in locating our desire in the Other. He says that our desire is the desire of the Other, which has two interrelated meanings. On one hand, what we desire is what we lack; therefore, we ask of the Other (through the other) to fulfill that

to literary, this body of literature is in much need of a wide range of renewed scholarly investigation and lucid presentation. The purpose of this series is to take advantage of the most recent advances in literary studies, textual hermeneutics, critical theory, feminism, postcolonialism, and comparative literature to bring the spectrum of literatures and cultures of the Islamic world to a wider audience and appreciation. Usually the study of these literatures and cultures is divided between

Download sample

Download